WOLFGANG AMADEUS MOZART: KONCERT ZA KLARINET I ORKESTAR, KV 622

U ovom diplomskom radu obrađujemo Koncert za klarinet i orkestar, KV 622, velikoga skladatelja Wolfganga Amadeusa Mozarta. Na početku je ukratko izložena biografija skladatelja. Slijedi joj glavni dio rada sastavljen iz pregleda svih okolnosti vezanih uz Koncert i njegovo nastajanje. Skladan je za specifičnu vrstu klarineta, basetni klarinet, stoga je opisan povijesni razvoj instrumenta do trenutka pisanja Koncerta. Skladba nastaje u kasnom razdoblju Mozartova stvaralaštva, pa je njegovo poznavanje izražajnih mogućnosti klarineta, tada relativno mladog i nerazvijenog instrumenta, na visokom stupnju. Uz nastanak djela neodvojivo je i skladateljevo prijateljstvo s klarinetistom Antonom Stadlerom. Rad se dotiče i razloga zbog kojih je Koncert napisan za basetni klarinet, kao i okolnosti u kojima je originalni rukopis izgubljen. Djelo je stavljeno u povijesni kontekst kroz osvrte na pojavu prvih izdanja, izvedbe kroz povijest i njihove kritike te rekonstrukciju basetnog klarineta. Zadnji odlomak glavnog dijela čini analiza oblika.In this master's thesis, we are reviewing Clarinet Concerto, KV 622, of the great composer Wolfgang Amadeus Mozart. At the beginning, the composer will be introduced. The following part is the main part, and it describes and reviews circumstances of the Concerto's creation. Originally, it was composed for a specific kind of a clarinet, the basset clarinet, so we are describing its historical development until the time the Concerto was written. The composition is created in the later period of Mozart's life, so his knowledge of the expressive potential of the clarinet, which was then a relatively new and undeveloped instrument, is at its highest level. The creation of the piece is inseperable from the composer's friendship with the clarinetist Anton Stadler. This thesis also argues the reasons why the Concerto was written for the basset clarinet and the circumstances in which the manuscript was lost. The piece is put into the historical context with the revision upon the first editions, historical performances and their reviews as well as the reconstruction of the basset clarinet. The musical form is analysed in the last chapter